Where does one go after fully enjoying the "golden trio" of Parsifals: Kna1951, 1952, and 1954? I would like to build the case for this one, even including the stereo 1962 among the choices. Let me list the factors that combine to create a really enjoyable experience. 1. The odious Mixtur-Trautonium, a primitive electronic synthesizer, replaced the original Parsifal Bells after 1954. But it sounds nothing like church bells, and it also made a different sound each time. In 1961 it is bearable: not enjoyable, but at least not annoying. 2. One cannot have a complete understanding of Parsifal without hearing Hans Hotter sing Gurnemanz. Here he is at his steadiest, without wobble. 3. George London reclaims his role from the early 1950s as a passionate Amfortas, in a deeply moving performance. 4. Irene Dalis and Jess Thomas are excellent, and some connoisseurs suggest that on this evening both are freshest in voice. 5. Gustav Neidlinger is a great Klingsor, here in splendid form, something not always guaranteed. Everything comes together beautifully in crystal-clear sound. One Parsifal authority, while accepting the high standard of this performance, nevertheless complains that nothing special happened this time. Yet this is the point: other Parsifals conducted by Knappertsbusch may have a + factor but there is also a – factor from something else.

If you've heard the famous 1962 recording of this opera made the following year by Phillips then this one with only a few minor cast changes isn't essential. Yet I would argue that ALL Knappertsbusch Parsifal performances are important and worth hearing, especially if you love this opera.Thomas sounds so young and fresh, his top ringing out on the few high notes Wagner gives him. Dalis is just as good as she was in the subsequent seasons, perhaps a mite vocally fresher. Her beautiful middle voice contrasts well with her seductive low notes and exciting top. It's obvious she and Wieland Wagner had worked hard at her characterization. Hotter sounds exactly like Gurnemanz should sound and Neidlinger is a strong Klingsor. London plays a magnificently tormented Amfortas, his voice still sounding good though his two top Gs are hoarse (it works for the charcter though). Weber is an appropriately sepulchral Titurel. The other parts are up to Bayreuth's usual high standard (Stolze is easily recognizable as the Third Squire). Knappertsbusch gives an unforgettable lesson in how to pace this opera. He is almost twenty minutes faster than he was in 1951, allowing the second and third acts to fit on one disc apiece.The sound is excellent broadcast mono. Lovers of Parsifal and Knappertsbusch's interpretation of it should get this!